Six
by bluemagicrose
Summary: Their relationship begins in the most cliché of ways. She's drunk and lonely and has too much power running through her. He's drunk and lonely and has too much power period. Klonnie.


**disclaimer: not mine, don't own, etc. **

**A/N: i apologize for any typos or mistakes. this site is too damn frustrating in regards to fixing small errors.**

1.

Their relationship begins in the most cliché of ways. She's drunk and lonely and has too much power running through her. He's drunk and lonely and has too much power period. He sits next to her at the bar, and instead of trading insults and threats they both just drink in silence. He orders an expensive bottle of Macallans (he's thoroughly surprised they have the bottle but weirder things have happened in Mystic Falls) and they share it back and forth, each taking a turn pouring some of the alcohol into their individual glasses. He's impressed she can hold her drink. When they finish the bottle he whispers her name, so quiet he doesn't think she heard him. But she did and she whispers his name back. They turn to look at each other, holding the other's gaze for what seems like eternity until she gets up from her stool and closes the tiny space that separated them. She's slightly taller in this situation with her four inch heels on and she leans down and captures his lips in a soft and gentle kiss. He's stunned by the gesture (so is she) and simply lets her kiss him, without returning it. She pulls back and they look at each other for a few seconds. A sad smile crosses her face and she moves to leave, only his arm shoots out and wraps itself around her waist and pulls her back to him. Both are surprised by the act but their bodies know something they don't and she leans into him and this time he takes her lips. She tastes of sadness and scotch and magic and it's a heady mixture that makes him lightheaded. She pulls away to breath but leans her forehead on his. "Take me home with you" she asks more than states and he runs his fingers through her hair, searching her eyes for any signs of uncertainty. He finds none. He tosses some bills on the bar top and leads her out to his car. She hums a song he doesn't recognize but makes him smile on their way to his home.

2.

She loves being on top of him. During sex or afterwards, on his chest or back or even sitting on his legs, it doesn't really matter. She likes putting her ear where a long dead heart used to beat. She likes the warmth his body radiates, something she wasn't expecting but she chalks it up to a werewolf thing. She likes feeling the vibrations of his voice through his chest while he yells at something on the television or while he's on the phone or when he's reading from one of his countless first editions. She likes the feeling of safety when he wraps his arms around her and holds her. She likes the way his fingertips skim over her neck, always stopping for a few seconds at a pulse point. She likes it when he lies still and lets her set the pace, not caring that she only cares about her orgasm and not his. She likes it when he looks at her in awe, like something special only he gets to see. She likes it when their hands intertwine and he places a kiss to each fingertip before his lips moves to the back of her hand. It never fails to make her heart flutter, if only just a bit.

3.

She never thought she'd be the type of girl who loves it when a vampire bit her but she is. Now. They have their go-to places for him to bite: the inside of her thighs, her hips, the underside of her breasts, and her wrists. And while they both love those areas they always come back to her neck. He says he likes it because it's traditional. She says she likes it because it's intimate. Sometimes it's during sex and sometimes not. Sometimes he's on top of her and others times he's behind her. He kisses her neck in search of the perfect place and when he finds it he sucks on it, eliciting moans out of her. His fangs release from their hiding spaces and he teases her, dragging them back and forth over the space until finally he sinks them into her skin. It's both their favorite part. She loves hearing his moan when her blood touches his tongue, like it's the sweetest thing he's ever tasted. He only ever takes enough to sate his thirst, but there are times he takes more than that, usually at her insistence. She'll run her hands over his back and shoulders, up his neck, and into his hair, holding him there. She can feel his smile as he takes deeper and longer gulps and her moans deepen with them. She revels in the feel of her heart slowing down as her blood leaves her body. When it gets too slow he removes his fangs from her body and licks the wound until no blood comes out of them. He then bites into his wrist and feeds her his blood, and it's her turn to take deep long gulps of blood, moaning at the taste and the feels and it slides down her throat. He always lets her drink as much as she wants, and when she's done she pulls his wrist away and gives him a bloody smile, one that he returns. She doesn't remember when she started to like this. She supposes at this point it doesn't really matter.

4.

She knows her friends know about them. How can they not? They can probably smell him on her; all of them (save two) are vampires. They call her to the Boarding House and set up an intervention type meeting for her, to talk about her "current behavior" (Caroline's words, not hers). She sits on the couch, her legs crossed, and listen to them speak about why what she's doing is a bad idea. Why this will only end up hurting them in the end. In the middle of their spiel she wonders why they don't say it will hurt her in the end. A dark chuckle goes through her, soft but of course they can hear. She can see their looks: Stefan and his disappointment, Elena and her worry, Caroline and her jealousy (which throws her off; didn't she rebuff him at every chance?), Tyler and his anger, Jeremy and his sadness, Damon and his indifference. It's only Matt that doesn't fully judge her. But he doesn't have room to talk. He too is fucking an Original (they've passed each other in the halls leaving in the mornings; sometimes they go out for breakfast) and all he tells her is to be careful and if this is what she wants then so be it. She could kiss Matt for his acceptance, but their lovers would probably smell the other on each other and both are possessive. So she simply stands up, hugs Matt, and walks toward the door, her heels clicking on the floor with each step away from them. Before she leaves she turns around to them, looks them in the eyes and simply says, "If I want to fuck Klaus, then I'm going to fuck Klaus." There are various degrees of shock coloring their faces. She can't bring herself to care.

5.

There are times when, instead of laying on his chest, he lays on hers. He head fits between her breasts or on top of her flat stomach and he runs his hand over the soft curves of her body. It's during these times he purposely breaths because his gentle breath tickles her and he's told her he likes the sound of her giggle. ("The sound of my giggle? What happened to big bad Klaus?" "Sweetheart, I'm allowed indulgences.) It is during these times that he tells her stories of his past. He speaks of bedding princesses and queens and quite a few princes. (She's never jealous of this and tends to ask him questions about that sex that even makes him blush.) He tells her of being there at the dawn, in the midst, and at the end of great empires, when royals have gotten their heads chopped off (the blood from a headless body is surprisingly bitter), and the rise of peasant revolts. He describes living like royalty in the best castles in all of Europe and then living like peasants. He tells her of people figuring out his secret, of the kills, of the turning of select few. He tells her as much as she wants to know.

Sometimes he tells her stories of his family when they were human: of never truly getting along with Finn, but always respecting him; his admiration, jealousy, and awe of Elijah and wanting to be like him; his happiness of simply being around Kol, the fact that his little brother never took things too seriously and always kept everything light; his utter love for Rebekah and wanting to protect her from the harshness of life and how, out of all of them, she understood him the most. He doesn't speak of their parents, which she is grateful for. She had no desire of knowing anything about them. He also doesn't speak of Henrik. He promises that one day he will. He doesn't need to. She has had visions of his past as a human. She has seen the moment that changed their lives forever.

6.

It's in the mornings when she's getting ready to leave or, though rare, they're both getting ready to leave when he says, "I could tear you limb from limb." It's an empty threat, something she suspects is a bit of a coping mechanism. She knows he cares about her, and, as he's apt to remind her, it's been a thousand years since he last cared about someone. He knows she cares about him as well. They're in this now, even if they want to keep this more for themselves instead of out in the open for everyone to see. But mostly it's an empty threat because she has so much magic running through that it can take him out, maybe not permanently, but long enough where he'll think twice about even trying to harm her. They both know it, and it excites them. So when he says 'I could tear you limb from limb', she simply pins him to a wall or the bed, temporarily immobilizing him, the only part of him able to move is his eyes and his mouth. She walks up to him and a wide smile crosses his face, his dimples coming out for show. She kisses along his jaw slowly and then finally gives him a peck on his lips and then she has her own wide smile, except hers is filled with danger. She only responds with:

"I'd like to see you try."


End file.
